Last Holiday

Unadventurous and safe agricultural equipment salesman George Bird (Alec Guinness) is diagnosed with Lampington's disease and told within a matter of time he will eventually painlessly slip into a coma before passing on. On the advice of his doctor as George has no close friends, is unmarried, and has no living family he liquidates his savings and insurance with his intention being to travel to the opulent Regal Hotel with his plans to spend every bit of his money and live more than he had up to that point.

Last Holiday is a 1950 comic drama directed by theater turned film director Henry Cass, and written by noted novelist, playwright, and political commentator J. B. Priestley. While a relatively small film in its day, retrospective analysis has been favorable to it, particularly in the performances of Alec Guinness as George Bird, Kay Walsh as Mrs. Poole, and Sid James as Joe Clarence with many divided on the film's "trick ending". Despite some very questionable decisions involving the ending, Last Holiday is a very poignant story that works on both a humorous level as well as a character based one.

The plot of Last Holiday is pretty thin at first glance as the movie is pretty much the setup with George Bird being a simple working-class man of strong character and principles who's been overly cautious throughout his life while neglecting things like the cultivation of friends and family. Guinness is undeniably the heart of this film as there is a humorous element to seeing George Bird throw caution to the wind with thoughts of the future and societal and cultural expectations placed to the wayside as Bird enters the opulent world of The Regal and his knowledge of how things work on a day-to-day basis serve to humble those of a higher class. In many ways you can see Bird as something of a precursor to other similar characters such as Peter Sellers' iconic Academy Award nominated performance as Chance the Gardener/Chauncey Gardener where the deceptive simplicity of the character is contrasted against the considerably emptier characters who pride themselves on status, prestige, and influence. Guinness is given no shortage of supporting players to play off against with particularly good exchanges coming from head housekeeper Mrs. Poole played by Kay Walsh with the two forming a low key romance that is very endearing, and Sid James is quite entertaining as Joe Clarence. Unfortunately the movie makes a massive mistake in its application of a twist ending that feels like it robs the story of emotional impact and it really seems like it ends on a downer note for no other reason than to catch the audience off guard. I'll admit it's a bold move in terms of an ending but not only does it needlessly turn tragic it leaves a feeling of "so what?" to everything we've seen.

There's a fantastic film for 95% of the running time thanks in no small way to the legendary Alec Guinness as George Bird who we really grow to care about as a likable everyman in an extraordinary set of circumstances. There's some on point social satire involving the contrast of Bird's working class principles against the "view from 20,000 feet" held by those of higher status at The Regal, but the ending they go with detracts from those solid points and takes a story that should be uplifting and turns it rather bitter and cruel.

A small-town salesman, George Bird, learns that he is suffering from an incurable condition, leaving him only weeks to live. With no family or friends to care for, he decides to spend his modest savings on his first and last stay in a grand hotel.

The other guests soon notice that he is new to hotel life, and react to him in different ways - some disdainful, some intrigued and friendly. These guests reflect the old English class-system, with its myriad of sub-classes, starting to die out by 1950, largely because of the left-wing postwar government that had been so championed by J.B. Priestley, author of this screenplay.

Before long, Bird's life seems to be opening out, with job-offers, investment opportunities, even a chance of love. A bitter irony of course, as these opportunities will never be enjoyed (or so we are to assume).

The comfortable hotel life gets a jolt when the staff are suddenly called-out on strike, instantly shaking-up the class-system, as all the guests have now got to try to pitch-in and help, as best they can. This provides for a number of accidental meetings that move the plot forward dramatically. And the effect on Bird's humdrum life, suddenly turned roller-coaster, is dramatic indeed.

Interesting to see the yet-undiscovered Sid James as a dodgy gambler, and David McCallum's father (also David) on the violin, beginning and ending the story with a simple but curiously haunting theme.

For a film that has given so much pleasure - check the other IMDb reviews - it may seem spoilsport to suggest that Alec Guinness does not quite carry conviction as such a small and narrow character as Bird. This is someone who just earns his daily pittance and then goes home to read the paper and smoke his pipe. For this role, Guinness simply looks and sounds too cultivated, too sociable, altogether too biddable. (Ironically there was a character actor called Norman Bird, who would have been perfect!)

What makes a film good? In this case it's the writing that first draws you in. Writer and co-producer J.B.Priestly (The Old Dark House '32 ~ An Inspector Calls '54) has a way with words that compels the viewer to want to know more about his characters. With wit and a sense of mystery, he surrounds us with multi layered groups of people that are mostly drawn together by chance. In 'Last Holiday' the cruel hand of fate brings us face to face with ultimate irony.

It's filled with marvelous situations, at first upsetting, then wryly funny, leading to an unexpected ending that invites us to examine the way we not only relate to others, but how we treat them. Priestly is examining the bias that all too often accompanies class consciousness. The cast is exquisitely diverse, everyone from bit players to mains, deliver sterling performances under direction from Henry Cass (Glass Mountain '49). Welsh born Cinematographer: Ray Elton (Quartet '48) with his strong grounding in documentaries, brings a realistic look to the fine work of Scottish art director Duncan Sutherland (San Demetrio London '43 ~ The Human Monster '49).

I found the music score by Romanian born composer Francis Chargrin surprisingly melodic for a 50s film of this type. Its thoughtful main theme is equally likable as his later 'The Beachomber' in '54. You might also remember Chargrin for his 'Colditz Story' '55, and 'Grey Friars Bobby' '61. Those who enjoy the always professional performances of Alec Guinness will enjoy his generally dour role in this off-beat mini classic.

My viewing was hindered by Australian TV broadcaster Gem's, persistence in supering 'pop-up' adds for up-coming shows, and their ridiculous LARGE lolly 'Pink' station ID. At least this time they screened the full film after inadvertently leaving out a reel in an earlier screening! Sure wish this broadcaster would treat their viewers, and the films they run with far more respect!

I love this film and it's one of the few I've watched time and time again. It's a forgotten jewel and is infrequently mentioned. For me it has everything that was important of it's era. The social comment is mingled into an entertaining story. How the Health Service is expanding but people go hungry. An over worked Doctor making mistakes. George Bird being projected into a world that is not his own. The irony of riches coming his way when he thinks he has little time left. The Union's getting their grip on the country with strike action. How the upper classes view the lower and vice versa. How George Bird is now viewed as upper class because of his new setting. Post war money laundering. How war heroes can't find work. Love and jealousy. And the ironies - how he buys a dead man's clothes. How he swerves a car to avoid a dog that is due to be destroyed and turns into a road called 'Fallow End.' Then there is the acting. Sid James gives one of his great performance. His 1940's and 1950's work was superb. Sadly remembered for his Carry On performances more than the superb actor that he was. He just holds the scenes and in some cases is competing well with Guinness. For Guinness this is an early film. Ernest Thiesiger makes a great appearance along with many others including the delightful Kay Walsh. Esma Cannon's acting is well done - better than her later performances where 'silly' scripts let her down.

Please do see it if you can. It's a little gem.

Although most Americans have little knowledge of his work other than Star Wars, Alec Guinness produced an amazing body of work--particularly in the 1940s-1950s--ranging from dramas to quirky comedies. I particularly love his comedies, as they are so well-done and seem so natural and real on the screen--far different from the usual fare from Hollywood.

This movie is the story of a man who thinks he is dying and decides to go out in style--living it up among the wealthy and well-bred. After all, he figures, he certainly won't need the money after he's gone! The marvelous acting and experiences among the upper crust make this a must-see. However, be forewarned, this is an incredibly depressing film. I doubt if I would have allowed the movie to be as dark as this one, but at least I can commend those who made it for not taking the easy way out and making a typical Hollywood style ending.